It’s taken me a few days to write this review as I’ve attempted to make the transition from squealy fangirl to serious reviewer. I’m still not sure I’ve gotten there, but the clock’s ticking. The thing is, I’m coming off the sort of extended concert high that I haven’t felt in a long time. And on Saturday I had one of the best nights of my life.

Long time readers of my blog will know I’m a sucker for 80s music, and in particular that of Spandau Ballet. So when I heard the band’s lead singer Tony Hadley was playing Belmont 16 Footers I jumped at the chance to attend. Knowing that Go West would be joining him was the ice on a neon colored cake.

Go West kicked off the night with a bunch of songs I didn’t know. It didn’t matter though; give me some synthesizers and I’m a happy girl. I was also thrilled to hear Peter Cox’s voice is just as strong as it always was, and the band were just as tight.

I was enjoying myself listening to Go West’s sleeper hits, but my mood reached another level when Tony joined the band for Don Henley’s “Boys of Summer.” The combination of Tony and one of my favourite 80s tracks saw me up on the dance floor. I didn’t leave it for much of the night, and I admit that I brought back many of the moves from the discos of my youth.

The night saw the guys singing hits and covers solo, then reuniting for some choice duets. There were the expected but no less appreciated songs. I loved hearing Go West sing “We Close Our Eyes” and “King of Wishful Thinking,” and went nuts for Spandau’s “Only When You Leave,” “Communication,” and “Gold.” Slow dancing with my husband to “True” was so special that I got teary.

But it was the unexpected numbers that made the night really special. Go West’s version of “Tracks of My Tears” was killer, as was Tony Hadley’s take on Nina Simone’s “Feelin’ Good.” He also made us all squeal with delight at “Rio.” Who needs Simon Le Bon? These covers were interesting, but not as bizarre as hearing them sing out Foo Fighters “Learn to Fly,” Kings of Leon’s “Sex on Fire,” and Stereophonics “Dakota.” Bizarre but completely awesome.

If I’m critical it wasn’t a perfect night. The sound quality was pretty poor in places. It seems the 16 Footers really needs to learn about sound checking. But I couldn’t fault the bands. They brought the 80s back to us all for an evening, and it was incredible.

Image source: own photos

Australia’s festival calendar is always crowded, but every year I make time to take in at least one: Jazz in the Vines. Anyone who’s been knows why. You can always count on exceptional tunes, superb food and wine, and some of the friendliest music lovers you could ever meet. This year’s was a little greyer than usual, but that did nothing to dampen the spirits of all involved.

I arrived to the traditional jazz stylings of the NSW Police Band. They were such a tight outfit, and perfect for easing us in to the day. Their classic jazz tunes were a natural warm-up for Feel the Manouche featuring living legend George Washingmachine. Again this was a classic jazz set punctuated by the tunes of Cole Porter and the like. However the unlikely blend of violin, double bass, and piano accordion brought a lovely gypsy flavour to the music. It was mellow but stunning, a great backdrop for a casual lunch and a few glasses of wine.

The intensity picked up with Weird Assembly, an exciting ten-piece who played big brassy soulful grooves. I really enjoyed their sound, particularly the gutsy rasp of vocalist and sometimes saxophonist David Weir. Sadly his enthusiasm came off a little desperate at times. The Jazz in the Vines crowd certainly isn’t too shy to dance if they want to. The repeated pleas for more participation started to grate.

Lisa Hunt proved that when the moment is right, the punters will groove. She closed the festival a few years back, and with Saturday’s set she proved that excellent set was no fluke. She had the throng on its feet with her Motown and disco heavy performance. Perhaps The Four Tops and Thelma Houston numbers weren’t jazz, but no one seemed to mind one bit. While she performed admirably as a solo act the moment when she called on three audience members to serve as her Supremes was a real highlight. One girl’s killer vocals even threatened to upstage Ms Hunt’s!

Read the rest of this entry…

I read a news report recently that said people are turning away from music festivals these days. They’re frustrated by high prices and out of control crowds, the folks more interested in indulging in drink and drugs than listening to the music. They commented that these days people seemed more concerned with being seen and appearing cool than enjoying the event. Clearly none of the people surveyed had been to the Wollombi Music Festival.

I don’t blame them, because until the weekend neither had I. It’s not a festival that attracts big name international acts, or even the local household names. It doesn’t get effusive write-ups in the media. But it’s a great little event with a whole lot of heart.

Read the rest of this entry…

As I get older, it takes something really special to lure me out of home during the week. But the promise of Jimmy Barnes playing at Lizotte’s on Thursday night was so irresistible that even I couldn’t refuse.

I’ve seen Jimmy many times over the years, but never in a place so intimate. If you’ve never been to the Central Coast venue known affectionately as “The Cubby House” it’s hard to imagine just how small it is. Seeing someone there is almost like seeing them at a private party with friends.

I was smiling before anyone even graced the stage, with my belly full of Lizotte’s tasty soft shell crab and delicious herby battered fish. But that smile got even wider when Mahalia Barnes was introduced as our support act. Jimmy’s daughter is always good value, and I lapped up her soulful set. Her modern take on “You Are My Sunshine” was a real highlight, as was the closer which saw Jimmy make an early appearance to sing with his daughter. The name of the song escapes me, but I was singing along in earnest.

It wasn’t too long before the Aussie legend was back on the stage with Mahalia and band in tow. He delivered a surprising set, but one that suited this venue perfectly. Anyone who came hoping to hear Jimmy’s greatest hits might have been disappointed. “Khe Sahn” and “Working Class Man” were notably absent, although he did treat us to a few Chisel and solo singles. The focus though was on songs that shone acoustically, especially those from one of my favourite Barnesy albums, Flesh and Wood. To hear some of my favourite cuts from that recording, especially “Guilty” and “Brother of Mine” was really special. Personally I enjoyed the opportunity to hear some of the songs that don’t usually get a work-out in the live arena; I’ve heard him sing the big numbers enough times at other shows.

The intimate setting made this show very personal. Where normally Jimmy moves quickly from track to track to please the punters, here he felt he could stop and talk to us about the songs a little more. I really appreciated that interaction. One of the most poignant moments of the night came when he stopped to talk about Steve Prestwich before performing one of his late mate’s songs, “When the War is Over” with Mr Percival on guest vocals. I also particularly loved his left of center closer, his version of “Love Me Tender,” again from Flesh and Wood, rather than a more predictable choice.

There are plenty of opportunities to see Jimmy rocking out. I’m thrilled that this week I got to see another side of this Australian music legend.

Image source: own photos

It’s a strange thing to sit in a venue and not feel part of the experience. Others around you are likely swept up in what’s presented, yet you feel a disconnect. It’s happened to me a few times at concerts, when the young girls squealed in raptures and I felt underwhelmed. And I felt it again when I saw Mary Poppins live on Friday night.

The moment it really hit home was somewhere in the middle of the extended, or drawn out, version of “Supercalifragilisticexpialidocious.” It seemed to go on and on and it seemed everyone in the theatre was singing that infernal chorus over and over again, clapping their hands in time. And I thought “Well this is all a bit silly, isn’t it?”

To be fair, I wasn’t a great fan of the Disney movie. I saw it as I saw many others of the vintage, but didn’t rewatch it tirelessly the way I did Bedknobs and Broomsticks. I decided to go see the stage production though as everyone had raved about it, and my parents and husband were keen. And besides, I had never met a musical I didn’t like. Famous last words.

Mary Poppins wasn’t all bad. Verity Hunt-Ballard had the presence and poise to pull off the role of the imposing but kind-hearted titular nanny. Phillip Quast’s Mr Banks had just the right amount of bluster. The children were quite lovely, not at all as cloying as child performers tend to be. I wasn’t entirely convinced by Matt Lee’s Bert, but boy that man can dance.

And as a spectacle, Mary Poppins certainly exceeded my expectations. I’ve never seen set design like it, with the Banks house folding up and down and every which way to take us into the rooms and up to its roof, with the lights of London twinkling all around. And no one could fail to be impressed as Mary Poppins flew off into the night. The only problem was, when she did it at the end of the first half I didn’t particularly want her to return.

Where Mary Poppins missed the mark for me was heart. I couldn’t help thinking back to seeing Hairspray a few weeks prior, and the way I felt so invested in it. It wasn’t as glittery, but it seemed to have more soul. At so many points in Mary Poppins I felt detached, uninspired, and frankly a bit bored. I just couldn’t get swept up in it all. Clearly I’m one of the few that feel this way. The countless Helpmann Awards, glowing reviews, and comments of my own family members tell a different story. I guess it just goes to show that you really can’t please all of the people all of the time.

Image source: Newtown Graffiti @ Flickr

I first saw Bachelor Girl in the last 90s. They’d just released “Buses and Trains” and the strength of that song saw them supporting The Goo Goo Dolls at the humble Newcastle Workers Club. I was a young thing then, keen as mustard to catch a live show, and so I arrived with plenty of time to catch their set. I remember being struck by the power of the pint-sized Tania Doko, the charisma of this tiny creature who sang pop songs that were far more intelligent than the average.

A lot of years have passed, but I was every bit as impressed as I caught them on their extended reunion tour last night at Lizotte’s. “The Cubby House’s” small stage was warmed up by singer-songwriter Beth Robertson. Her set was simple but moving. It was touching to see her interacting with her guitar-playing husband, and hear the way her voice fit so perfectly with her back-up singing sister. An ode to Newcastle and its small-town feel inevitably won me over, and her stripped back cover of Katy Perry’s “California Girls” was another highlight. It was a set without frills, but its sincerity and simplicity won me over. I really hope to catch Beth somewhere again; she was brilliant.

Bachelor Girl have certainly lost nothing over the years. If anything the time apart seems to have done Tania Doko and James Roche good, as they appear to be performing with real joy. There’s an easiness about the way they appear on stage that can only come from so much time together.

Their set was punctuated by the big singles, but also featured some of the “lost songs” only heard on the new greatest hits album. I didn’t know all the tunes, but I didn’t need to. It was much more fun to discover them as the evening unfolded, listening to the lyrics and the anecdotes James and Tania told between tunes.

The acoustic setting shed a new light on the songs I’ve loved for years. Songs like “Permission to Shine” and “Treat Me Good” were played to death on radio in their day, but I found a new appreciation for them last night. To hear personal favourites “Buses and Trains,” “Lucky Me” and “I’m Just a Girl” once more in the live setting was another thrill. And their version of “Help,” which has only been performed a handful of times, was breathtaking.

There aren’t too many second chances in life, but I’m thrilled I got another chance to see Bachelor Girl. They were one of the most talented Aussie acts of the 90s, and in 2011 they’re sounding every bit as good.

Image source: own photos

I figured I’d change pace a little to tell you about the musical Hairspray, which I was lucky enough to see at Sydney’s Lyric Theatre last weekend. I talk about rock concerts on here all the time, so why not a bit of musical theatre?

I came to Hairspray a little late in the game I suppose, on the release of the John Travolta movie in 2007. I instantly fell in love with the sweet but often naughty John Waters penned songs and the unwavering optimism of the story, so when I heard it was heading to the Sydney stage I couldn’t refuse.

I had high expectations, which were happily met. In many cases the performances were better than the ones we saw on the big screen. I guess that’s what happens when you can choose your players based on talent rather than their box office power. Esther Hannaford definitely outperformed Amanda Bynes’ insipid Penny, and while Queen Latifah was no slouch I think Cle Morgan brought added soul to Motormouth Maybelle. I’d also take the all-singing, all-dancing Jack Chambers over Zac Effron’s Link Larkin any day, and my inner teenager went nuts for Tevin Campbell’s Seaweed. I thought Nikki Blonsky was a wonderful Tracy Turnblad, but the Sydney star Jaz Flowers was every bit her equal.

The stars were standouts, but the clever lighting and staging was what really made the show for me. Images projected on plain screens created the Technicolor world of the 60s in a way that no old-fashioned stage scenery ever could. Elevating platforms added to the fun, giving more depth to the relatively small Lyric Theatre stage. I was swept up in the world created as you should be in any musical, and I relished it.

Hairspray will stay in Sydney until September 11, unless the season is extended. If you’ve been considering getting yourself along, I would highly recommend it. This musical is a whole lot of fun.

Image source: Hairspray The Musical Australia website

After a fairly busy few weeks, I really needed a bit of R and R. I found it this week at the performance of one of my favourite singers, Joshua Radin.

Unfortunately the slow dinner service at the delicious Italian restaurant we found meant that I missed all but the final song of Jim Bianco’s set. I’m really disappointed by that. He had an awesome folky pirate thing going on that I would have loved to hear more of.

Thankfully we were all settled in for Andy Bull. I’d enjoyed the music I’d heard from Andy before, but experiencing it in a live setting brought it to another level. This is probably one of the larger venues he’s played, but he made it feel so intimate with his stories about the songs and sweet, self conscious manner. It takes a very special performer to fill a theatre with just a voice and some keyboards. Despite being excited about Joshua’s appearance, I was a little sad to see him leave the stage.

The last time I saw Joshua he was playing at the uni bar, acoustic and solo for the most part. This show was a bit of a step up, in the hallowed halls of the Enmore Theatre with plugged in band mates in tow. One of the things I’ve always loved about Joshua Radin’s music was its intimacy. These are really small songs made for minimalist treatments. We didn’t always get that at this week’s show. Some songs received frenetic finishes they didn’t really need, particularly by the Danish drummer who seemed he was just waiting to join a big rock band. But for the most part the musical treatments were understated enough to keep me happy.

My favourite moments saw Joshua on his own though, acoustic guitar in hand creating music that was stripped back enough to let his lyrics shine through. Few artists could get away with leaving us with something as mellow as “Winter,” from his first album, but for me this encore was a clear highlight. I also loved hearing “Today,” the song that made me fall for him all those years ago, and my personal favourite “You’ve Got Growing Up To Do.”

Just like Andy Bull, Joshua is one of those special singers who shares himself with his audience. Hearing the way the songs took shape helped me see them in a whole new light, and listening to him speak of his fondness for our country endeared him to me even more.

It had its flaws, but a night with Joshua Radin is always a night well spent. Whether he brings the full band or not, I’ll be queuing up for tickets on his inevitable return.

Image source: own photos

Let me take you back to last Saturday night. It was a night where the end of the world was nigh, or at least we were told that it was. I was pretty sure there’d be no Rapture, but I figured if there was at least I’d go out seeing one of my favorite Australian performers, David Campbell.

Clearly the rest of Newcastle had the same idea, as the showroom at West Leagues Club was packed to capacity. Our enthusiasm was rewarded, as David played as if it may be the last time he’d grace the stage. He was incredibly animated, the result of several coffees we were told. Whatever the cause, I felt as if we were treated to a comedy act as well as a musical one. David’s always funny, but the Rapture and Arnold Schwarzenegger’s recent scandal gave him a bit more material to play with. And play he did, memorably telling us he would sing a song by his famous father before launching into Glen Campbell’s “Rhinestone Cowboy.” It’s not a tune I’d ever expected him to play, but even singing country he was bloody good.

But laughs are only half of the David Campbell story. He can turn the show on a dime, bringing the entire audience in to a tender moment on a whim. Those special moments came in the always breathtaking “Begin the Beguine,” the romantic “Smoke Gets in Your Eyes,” and my personal live favourite “Mr Bojangles.”

So there was no Rapture, but if there was that’s the show I’d want to go out on. Happily though we go on, and I know I can enjoy something just as good next time David hits town.

Image source: own photos

Ordinarily I go and see bands that I’m enthusiastic about, but on Thursday night I headed to the State Theatre to discover the Indigo Girls. I say discover because aside from a few tracks my husband had played me the weekend before, I really wasn’t familiar with their music. This was a band he adores, and I was happy to discover what inspired him so. It’s exciting to learn about a band in the flesh, and I had a blast.

But before Amy and Emily took the stage we were warmed up by Henry Wagons. And warm us he did with his quirky alt-country tunes. He was without his band, with only an acoustic guitar to accompany him, but his big personality filled the stage. My husband wasn’t too sure what to make of him at first, but by the time Henry got to his closing song “Willie Nelson” he was joining in the chorus.

There was less quirk to the Indigo Girls but a similar raw energy. This is music the way I like it best, without frills or fuss, back to basics. With only acoustic guitars, a mandolin and harmonica, and two sublime voices the American girls wowed me. I understood why they’re such legends in their home country, and wondered why they’ve never really caught on here. I felt privileged to be exposed to their exceptional songs and musical prowess, like someone had let me in on a secret. I have my husband to thank for that, and I do.

A poignant moment came near the end of the set, when Amy and Emily welcomed a guest speaker to talk to us about the fallout from uranium weapons. It might seem strange to incorporate this element into a concert, but the crowded tables surrounding the petitions at the end of the show spoke volumes. This was a night about being moved in so many ways.

I couldn’t sing along like the faithful fans, but I could clap and cheer and I did. What a wonderful introduction to an exceptional act. Amy and Emily say they hope to be back on our shores soon; I promise to get myself up to speed before then.

Image source: own photos